Le matériel des guitaristes pro(s) - (Sommaire en page 1)

CHRIS POLAND

Du temps de Megadeth :

"Guitar.com: Which guitars did you favor while in Megadeth?

Poland: I had B.C. Rich guitars and a lot of times I would use Neal Moser's preamp that was in that guitar. It was built in. I was always using a Rockman into Marshalls for my effects. I had the little portable Rockman headphone amp and I would run a cable out of the headphone jack and into the front of the Marshall. It would really hit the front end of the Marshall, so I was getting like double the gain there, and then I was also getting additional gain from the preamp off the B.C. Rich guitar. So it was a searing tone. The sound was almost synthesizer-like and it had so much sustain. Later I started using the rackmount version of the Rockman and I stopped using the onboard preamp. It seemed like I was getting more guitar response and more touch response from my picking hand because there wasn't so much gain."

Le matos de DragonForce :

Herman Li:
Guitars:
Ibanez S-Series 6 string (S470SOL, S540TTS)
Ibanez S-Series 7 string (540S7BK)
Ibanez RG 7 string (RG7620)
DiMarzio pickups

Amplifications, Rig Setup & Misc:
Marshall JMP-1
Rocktron Intellifex XL
Korg DTR-1, DT-10
Mesa Boogie 50/50
Marshall 1960B Cabinets
Sennheiser Evolution Wireless
Fuman Power Conditioner
Digital Music Corp. Ground Control
Digitech XP100 with custom true bypass
Morley Bad Horsie 2
Jim Dunlop Cry Baby
Ernie Ball Volume Pedal
Marshall ED-1 Compressor
M-Audio Midi Merge 2x2
M-Audio Midi Thru 1x4
George L's
SM57
EBow
Drink holders

Sam Totman:
Equipment
Krap Guitar
Jackson Guitar (borrowed off a friend)
Ibanez Guitars (Herman's)
Marshall 9100 Power Amp
Marshall 1960B Cab
AKG Wireless System
Lots of booze
Drink Holders
Sam abuses any of Herman's left over gear as long as they are free!

ALEX LIFESON - RUSH

Des photos du matériel de la tournée vapor trails en 2002.













A noter, les baffles sont là pour faire joli (et pour le feedback aussi). Il utilisait des palmer speaker emulator.

le pedalier du bassiste d'Audioslave est visible dans le boitier du nouvo (et excellent) cd ...

salut c zepfendertéléca

ya pas qqun qui pourrait me dire ce que c un enventide h949 harmonizer et ou je peut en trouver un et a qq prix
cimer

salut c zepfendertéléca

ya pas qqun qui pourrait me dire ce que c un enventide h949 harmonizer et ou je peut en trouver un et a qq prix
cimer

JOSH HOMME

http://guitargeek.com/chat/sho(...)55964

Une photo du temps de Kyuss :

Bon, une photo déjà :



Comme son nom l'indique, c'est un harmoniseur. C'est l'ancêtre des H3000 et autres fleurons de la marque tels l'actuel eclipse.
Ca fait plus de 20 ans qu'ils en ont stoppé la production.

Je ne connais ni sa valeur marchande ni ses caractéristiques et je n'ai pas rien trouvé sur le site www.eventide.com (la seule chose qu'ils en disent c'est H949 : the first "deglitched" pitch changer)

on peut quand meme préciser que ce genre d'engin coute bonbon, soit au moins 1000€.

Revue de l'Eventide H 949 sur Harmony Central : prix entre 200 et 400 $

JOHN MAYER

Ma foi, une belle collection de guitares :

http://qlink.queensu.ca/~4sd7/(...).html

Je reviens à l'attaque: quelque chose sur The Fields of Nephilim?

JOSEPH ARTHUR

https://www.guitariste.com/for(...).html

Donc :

RICHARD THOMPSON

Tiré du magazine accoustic guitar (2001) :


Despite the clamor and acclaim accorded Richard Thompson for his guitar work in both the acoustic and electric realms, he maintains a modest, workmanlike approach to his music-making tools. He owns a handful of acoustic guitars, including a mid-’60s Martin 000-18, a couple of custom Danny Ferrington six-strings (Danny Ferrington, PO Box 923, Pacific Palisades, CA 90272), a Ferrington baritone guitar, a Lowden L27F (see Great Acoustics), and a small-bodied Lowden S23 (Lowden Guitar Co., 8 Glenford Way, Newtownards BT23 4BX, Northern Ireland; [800] 872-5856; www.lowdenguitars.com ). Thompson has a long-standing association with Ferrington’s idiosyncratic lutherie, and he is shown playing Ferringtons on the covers of Small Town Romance and Hand of Kindness. He is still apt to play the Ferringtons and the Martin at home or in the studio, but for concert work he limits himself to the Lowden L27F, which he retunes as needed rather than switching between guitars for alternate tunings. Thompson’s acoustic collection also includes a mandolin, a tenor banjo, a hurdy-gurdy, and hammer and lap dulcimers. Of these, only the Appalachian-style lap dulcimer joins him on stage.

Thompson amplifies his guitars on stage with a Sunrise pickup run through a Sunrise tube preamp, with a hint of Boss DD3 digital delay and Uni-Vibe stereo chorus effects. He sometimes blends in an on-board Countryman Isomax condenser mic run through an ART preamp. In the studio he employs a variety of mics and recording techniques, ranging from straight acoustic miking to running the acoustic signal through an amp.

As for the plugged portions of his program, Thompson was wedded to his trusty ’59 Fender Stratocaster for decades, but more recently he’s been enamored of a Ferrington prototype electric. This aquamarine special is wired with a Fender Broadcaster pickup at the bridge, a Stratocaster pickup in the middle, and a classic Gibson P90 at the neck position. Controls are limited to three volume pots—Thompson feels that tone controls are unnecessary on an electric—and he achieves his variety of tone color through the choice and balance of pickups. He runs the signal through a Fender Vibroverb and a Line Six 2 x 10 cabinet. As with the acoustic, he uses minimal tweaking and effects and depends more on his touch and attack for effect. "I use a little Boss digital delay and a touch of the Uni-Vibe," he says. "Nothing special, really."

Until recently, Thompson found himself going through strings at a furious rate, and he would often need to change to a fresh set after an hour or two of live playing. Lately he’s found that the coated winding on Elixir strings affords a much longer string life, and he can go two or three gigs before changing strings. On the Lowden his set runs from .012 to .054, and on the electrics his guitar tech assembles a custom set in a lighter gauge. Thompson sets the strings in motion with Gibson teardrop medium flatpicks, generic thumb- and fingerpicks, and bare fingers. When he uses a capo, it’s usually a Shubb. On the electric guitar he limits himself to standard and dropped-D tunings, but on the acoustic he is likely to range from standard to D A D G A D to open C and G during the course of an evening.

––Paul Kotapish

pas mals

sinon comme tu es apparaments cale sur le matos j aurais aimer avoire des conseil ou shema de branchement de pedals car j ai un chorus une delay un reverbe et la derniere wha wha zakk wylde dunlop dont je doit encore 100 euro au magasin et en fiate j ai apris que tu ne devait pas brancher tous cela n importe comment hihi ^^ doncs euh bah voila

saurais etais simpa que l on me passe des shema et ous les bon coseil

super merci d avance

Pour ce qui est de l'ordre de branchement, ceci devrait t'apporter les infos nécessaires : https://www.guitariste.com/for(...).html